I’m a bit late on this one, but it’s just too cool for me to pass up. Getting able to write about art that I love is cool, but nothing’s as great as seeing your favorite artists grow and evolve. Though N.E. came out strong from the very start with his work for New Flesh Prints, it’s been pretty nice to see his techniques get refined and his concepts get stronger. His newest piece for Odd City Entertainment marks his very first 24″ x 36″ and is officially licensed¬†by MGM. Though we’ve seen plenty of iconic prints for the film, I like the approach that he’s taken, showing us a rarely seen POV of the towering house and using a smart glow-in-the-dark latyer to add a hidden layer of sinister proportions. Great stuff, N.E.!

Specs are below, the print will be available at the Odd City Store Tuesday, April 23rd between 3-4 CST (1-2pm PDT)! follow N.E. and Odd City on Twitter for more updates!

ne-The-Amityville-HorrorRegular / 24″ x 36″ / 8 color screenprint with 2 metallics and glow layer / Mohawk Vellum Warm White / Signed & numbered / Edition of 225 / $65

ne-The-Amityville-Horror-variantVariant / 24″ x 36″ / 8 color screenprint with 2 metallics and glow layer / French Whip Cream 140lbs / Signed & numbered / Edition of 25 / $85

ne-The-Amityville-Horror-gidGlow layer

From N.E.: When I was asked to do a poster for Amityville Horror, I was somewhat hesitant. I know the obvious and even traditional way of depicting these movies has always been to predominately show the house as a living thing with glowing windows for eyes glaring back at the audience in a not-so-subtle way. I chose to approach the Dutch Colonial house in a more ambiguous way to show what had brought the Lutz family to live there in the first place. I wanted to show that the perceived promise of the American dream outweighed the ominous presence of the structure. To show this, I chose to depict that house as beautiful, an ideal, yet possessing and off-kilter quality. The font for the title reinforced this strange nature by recalling the European posters of the 60?s and the 70?s. Finally, the choice to make it literally a house on a hill was deliberate. After all, that is the view of it from the boat house.

SG